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鲁迅作品往往将死亡作为有情有感的实体形象进行描绘。在他笔下,死亡不再只是背景或修辞手段,而是主要角色之一。这样的手法与他自己的翻译作品关系密切。文章从《域外小说集》《近代美术史潮论》中的死亡表达方式入手,比较了它与鲁迅创作中的死亡实体表现艺术的同异之处,并分析了鲁迅之所以从这些译作中接受这种表现方式的多重原因。死亡实体表现方式不仅影响了鲁迅创作的美学风格,也对新文学其他一些作家的创作发生了作用。
Lu Xun’s works tend to describe death as a sentimental entity. In his pen, death is no longer just a background or rhetorical device, but one of the major roles. This approach is closely related to his own translated works. This article starts with the expression of death in “Extraterritorial Fiction Collection” and “Modern Art History” and compares the similarities and differences between Lu Xun ’s performance art and the artistic expression of death entity. It also analyzes the reason that Lu Xun accepted from these translation works Multiple reasons for this performance. The manifestation of death entity not only affects the aesthetic style of Lu Xun’s creation, but also plays an important role in the creation of some other writers in the new literature.